Courses of Study

AR101Wfs Reading Images A writing-intensive introduction to art-historical inquiry in which students acquire the basic skills needed to read images and interpret them within socio-historical contexts. How do we translate a visual experience into a verbal description? How does art generate meaning through form, technique, and content? How do systems of power, tradition, and belief shape the production and meanings of art? Through close looking, structured research, and frequent writing assignments, students learn to analyze objects in the Colby College Museum of Art.Four credit hours.W1. Ameri, Plesch

AR111f Introduction to Western Art: Prehistory through the Middle Ages An examination of the history of the Western tradition of art from cave painting through the end of the Middle Ages. Through lectures, class discussion, museum visits, provides an introduction to the descriptive and critical analysis of works of art in both their formal and material makeup as well as their dependency upon and/or interrelationship with cultural, religious, economic, and historical trends. Previously listed as Art 201.Four credit hours.A. Plesch

AR112s Introduction to Western Art: Renaissance to Today An examination of the history of the Western tradition of art from the late Middle Ages to the present. Through lectures, class discussion, museum visits, and intensive writing, provides an introduction to the descriptive and critical analysis of works of art in both their formal and material makeup as well as their dependency upon and/or interrelationship with cultural, religious, economic, and historical trends. Previously listed as Art 202.Four credit hours.A. Harkett

AR117j Introduction to Art Conservation and Preservation An exploration of the issues and practices of the conservation and restoration of works of art. Theoretical discussions will be balanced by practical examples. The role of conservators, the systems they employ, and the relationship between art and science will be explored. Students will be responsible for case studies, many of which will involve examination of original works of art in the galleries and storage areas of the Colby College Museum of Art. Also includes visits to local museums and Colby chemistry labs. No prerequisite, but interest in art history or studio art is advantageous. Does not count toward an art major or minor.Three credit hours. Roth-Wells

[AR125] Art and Architecture of the Islamic World, 622-1258 Examines the history, art, architecture, and archaeology of the Islamic world from the time of Muhammad's flight to Medina in 622 A.D. to the Mongol Invasion of 1258. Explores this pivotal period by surveying the history and material remains of the Umayyad and Abbasid empires in the Middle East, South Asia, and Spain. Familiarizes students with the basic development of Islamic art as well as with the cultural and historical circumstances that led to particular styles and movements. Previously listed as Art 321 and 225.Four credit hours.A.

AR126s Art and Architecture of the Islamic World, 1258-1914 Examines the history, art, and architecture of the Islamic world from the time of the Mongol Invasion of 1258 through the end of the Ottoman Period. Explores this pivotal period by surveying the history and material remains of the Mongol Empires (Ilkhanid and Timurid) and the so-called Gunpowder Empires (Safavid, Mughal and Ottoman) in the Middle East and Central and South Asia. The course familiarizes students with the basic development of later Islamic art as well as with the cultural and historical circumstances that led to particular styles and movements. Previously listed as Art 226.Four credit hours.A. Ameri

[AR127] History of Architecture I: Pyramids to Cathedrals Introduces students to the history of architecture and examines key aspects of human relationships with the built environment. Topics include religious architecture, city planning, and the expression of political power in architectural design, from antiquity through the Gothic period. Among the important structures covered are the Parthenon, Roman military garrisons, early royal palaces, and cathedrals. Through lectures, discussions, exams, and individual research projects, students learn to analyze these forms of the built environment in relation to cultural, religious, economic, political, and historical trends. Previously listed as Art 227.Four credit hours.A.

AR131f Introduction to Studio Art Provides a thorough understanding of the organizational and visual components of two-dimensional art and introduces a working relationship with the characteristics of color. Projects, completed in a range of media, emphasize discovery through experimentation and problem solving. Students develop a variety of observational and expressive capabilities that enable them to creatively perceive, formulate, analyze, and solve visual challenges.Four credit hours.A. Mitchell

AR131Jj Introduction to Studio Art Provides a thorough understanding of the organizational and visual components of two-dimensional art, and introduces a working relationship with the characteristics of color. Projects, completed in a range of media, emphasize discovery through experimentation and problem solving. Students develop a variety of observational and expressive capabilities that enable them to creatively perceive, formulate, analyze, and solve visual challenges.Three credit hours.A. Reed

AR135s Visual Thinking Through ideas-oriented projects, students develop visual vocabulary, design skills, and critical perception — the foundations of visual thinking and creative expression in the arts. Emphasis is placed on imagination and experimentation through a wide range of materials and techniques in 2-D, 3-D, and digital media..Four credit hours.A. Mitchell

AR158f American Art, 1650-1900 Surveys the arts of the United States, from the colonial period to the late 19th century. Situates the images, visual practices, and artistic styles within their social, historical, and cultural contexts. Topics include art and (inter)nationalism, portraiture and the self, images of war, the American landscape, art and popular culture, race and representation, and conceptions of the modern artist. Particular attention is paid to the role of artistic production and consumption in constructing American social identities and culture. Students will write essays that incorporate artworks in the Colby College Museum of Art and primary sources in Special Collections, and complete a final group project. Previously listed as Art 258.Four credit hours.A. Sperling

AR159s American Art since 1900 Surveys arts of the United States, from the turn of the 20th century to the present. Situates images, visual practices, and artistic styles of the period within their social, historical, and cultural contexts. Major topics include American art's relation to urbanism, modern technology, regional life and identity, political struggles, popular culture, modernism, and postmodernism. Students write essays that incorporate artworks in the Colby College Museum of Art and take an essay-based exam. Previously listed as Art 259.Four credit hours.A. Sperling

[AR173] East Asian Art and Architecture to 1300 Introduces the arts and cultures of Asia from the prehistoric period to 1300 CE, with due attention paid to basic art-historical methods and techniques. Lectures focus on critical analysis of artistic style, technique, expression, subject matter, iconography, and patronage. Students learn about the history and beliefs of East Asia, including Buddhism, Confucianism, Daoism, and Shinto. At the same time, they enhance their visual literacy skills, including recognizing the cultural forces underlying viewing expectations and experiences. Students develop and demonstrate these skills through weekly quizzes, a paper, and two examinations. Previously listed as Art 273.Four credit hours.A.

AR174f East Asian Art and Architecture, 1300 to the Present Introduces the arts and cultures of East Asia from 1300 CE to the present, with due attention paid to basic art-historical methods and techniques. Lectures focus on critical analysis of artistic style, technique, expression, subject matter, iconography, and patronage. Students learn about the history and beliefs of East Asia, including Buddhism, Confucianism, Daoism, and Shinto. At the same time, they enhance their visual literacy skills, including recognizing the cultural forces underlying viewing expectations and experiences. Students develop and demonstrate these skills through weekly quizzes, a paper, and two examinations. Previously listed as Art 274.Four credit hours.A. Weitz

[AR213] Early Medieval Art Painting, sculpture, and architecture from A.D. 315 to 1000, from the Christianization of Rome through the development of Byzantine civilization in the East and through the Ottonian empire in the West. Previously listed as Art 313.Four credit hours.

AR215f Art and Archaeology of the Ancient Near East and Egypt Surveys the art and archaeology of Ancient Egypt and Mesopotamia from the origins of urbanism through the Persian period by examining both the art and architecture of these ancient civilizations and the general cultural frameworks that led to their development. Through class discussion, readings, and individual and group projects students become conversant in the history and visual culture of Ancient Egypt and Mesopotamia, as well as with the archaeological techniques used to collect and analyze much of this material. Previously listed as Art 315.Four credit hours.A. Ameri

AR216f Facing America: Race and Representation, 1492 to the Present Explores how visual culture has shaped ideas of racial difference in North America, from circa 1492 to the present. Focusing on representations of bodies, we will examine prints, paintings, performances, films, and photographs that contributed to the construction of Black, Native American, Latino/a, and Asian identities and interwoven issues of class, gender, and sexuality. Students engage with original artworks, take one essay-based midterm exam, and complete two writing assignments.Four credit hours.A, U. Sperling

AR217j Figure Drawing and Anatomy Introduces all aspects of drawing the figure using graphite, charcoal, ink, and mixed media. Covers the hands-on applications of fundamental drawing issues, while encompassing the various historical iterations of drawing the human form. In addition to daily technical instruction pertaining to drawing the figure, image presentations give students comparative understandings of the legacy of the figure in art and help them to find their place as 21st-century visual thinkers.Three credit hours. K. Engman

AR218j Architectural Design Workshop In this intensive introduction to architectural design, students work on an active architectural site with a professional in the field. They become familiar with the vocabulary and techniques of architecture and implement them within a local, real-world context. Materials cost: $100.Three credit hours. Lock, Pratt

AR219j Introduction to Bookbinding: Techniques and Intangibles The ancient craft of bookbinding has been practiced in Eastern and Western cultures for centuries. This course provides a practical, hands-on introduction to a variety of bookbinding tools, materials, and techniques. Students learn to design and produce a selection of finished bindings. Culminates with an independent project that incorporates the techniques and principles learned. Does not count toward an art major or minor. Previously offered as AR297B (Jan Plan 2018)Three credit hours. Eddy

AR221f Drawing I Lays the foundation for visual thinking and perceptual understanding. Through a sequence of projects, students acquire a working understanding of single and two-point perspective, composition, the use of tonal contrast, and the editing process necessary for clear visual communication. Students will experience drawing both as an analytical tool and an expressive language. Media used include graphite, vine and compressed charcoal, and ink. Outside work is essential. Evaluation includes group critiques, midterm, and final portfolio reviews. Previously listed as Art 141.Four credit hours.A. B. Engman

AR222s Drawing II Focus is on developing an understanding of shape, line, value, and linear perspective and how these elements relate to drawing as a tool for creative thinking. Beginning with basic concepts and processes involved in responding objectively to observed subject matter, projects progress to cover compositional and subjective issues. Traditional and contemporary approaches to drawing are explored through a variety of materials and methods to develop core skills and techniques. Previously listed as Art 142.Prerequisite:Art 141, 217, or 221.Four credit hours. Mitchell

AR228f Print and Digital Media I Introduction to the materials, techniques, and concepts associated with the medium of printmaking in its traditional and 21st-century forms. Students learn basic print shop and digital image manipulation skills, including use of hand and power tools, paper handling and registration, hand and press printing, Photoshop, and digital laser cutting. Printmaking techniques include relief, monotype, and intaglio. Demonstrations, studio work, and critique form the foundation of this project-based course.Four credit hours. Lilleston

AR229s Print and Digital Media II Continued introduction to the medium of printmaking in its traditional and 21st-century forms. Covers a variety of intaglio techniques, lithography methods, and intermediate digital image manipulation skills. Demonstrations, studio work, and critique form the foundation of this project-based course. Students develop a thematic body of work that culminates in a final portfolio.Prerequisite:Art 228, 234, or 235.Four credit hours. Lilleston

[AR233] Mannerism and Baroque Art in Southern Europe Painting, sculpture, and architecture from the late works of Michelangelo in the 16th century through the early 18th century in Italy and Spain. Examines the meanings and functions of works of art and their relationship to and dependence upon historical, theological, cultural, scientific, economic, social, and artistic contexts. Previously listed as Art 333.Four credit hours.

[AR238] Surrealism Surveys the 20th-century artistic movement known as surrealism, from post-World War I Paris to its influence in continental Europe, Britain, the Americas, and in popular culture today. To gain insight into the complexities of one of the most influential avant-garde movements, we consider its relationship to Dada and the influences that were critical to the formation of the movement (in particular the work of Sigmund Freud). As we consider the major contributing artists, we study works in a range of media: painting, sculpture, printmaking, drawing, literature, film, fashion, and more. Previously listed as Art 338.Four credit hours.

AR241f Painting I A project-based introduction to oil painting as both a process and medium. Students acquire an understanding of advanced color theory and its perceived behavior in invented compositions and observed still lifes. They gain an understanding of how formal analysis drives the creative process and allows for clear, personal expression. Individual and group critiques provide feedback for growth. Outside work is essential. Evaluation process includes midterm portfolio and final interview and portfolio reviews.Four credit hours. B. Engman

AR242s Painting II Continues the project-based involvement with oil painting as both a process and medium. Students explore quick responses to still-life, in-depth figure study through self-portraits, and an introduction to abstraction through tempera and collage. They deepen their understanding of how formal analysis drives the creative process and allows for clear, personal expression. Individual and group critiques provide feedback for growth. Outside work is essential. Evaluation process includes midterm portfolio and final interview and portfolio reviews.Prerequisite:Art 241.Four credit hours. B. Engman

AR244s Moving Images: Magic Lanterns to Virtual Reality Surveys moving image technologies in art and visual media, from Renaissance pop-up books and spectacular 19th-century panoramas to experimental animation and virtual reality in the 20th and 21st centuries. Explores how and why artists used motion to contend with topics including science, medicine, religion, war, race, sexuality, and mass media. We engage with moving images through screenings, museum visits, and virtual reality sessions. Students write reading responses, make their own moving image device, and complete a final research project. Includes one required field trip to the Harvard Art Museums on Friday, April 5.Four credit hours.A. Sperling

[AR252] Medicine and Visual Culture Explores the relationship between medicine and Western visual culture from the 16th century to the present. Addresses the development of scientific illustration, medical themes in the fine arts, the arts in clinical practices, and visual technologies of medicine. Designed to introduce students in the humanities and social sciences to the culture of science, while offering premedical students an important opportunity to think critically about images and imaging in relation to human health and disease. Students are expected to participate actively in discussions, engage with original texts and artworks, complete several writing assignments, and take an essay-based final exam.Four credit hours.A.

[AR255] Contemporary Art Surveys the global production and reception of art since 1980. Considers the relationship between contemporary art and politics, international networks, popular culture, social activism, and new media. Students complete several writing assignments and engage with artworks at the Colby College Museum of Art.Three credit hours.A.

[AR256] African American Art Surveys the work of African-American artists, from ca. 1800 to the present. Covers a variety of visual media, including painting, sculpture, prints, photography, installation, and contemporary performances. Considers the ways in which artists and scholars have worked to define "African-American art" in relation to Euro-American and African cultural production as well as to the evolving social and political history of people of African descent in the United States. Students engage with original artworks, complete two writing assignments, and take an essay-based final exam.Four credit hours.A, U.

AR257s Renaissance Art Examines art created north and south of the Alps from the 14th through 16th century in relation to historical, theological, cultural, scientific, economic, social, and artistic contexts. Explores patrons' values and motives, the meanings and functions of artworks in a variety of media (painting, sculpture, architecture, decorative arts, and prints), and the interactions between European artistic centers and artists. Themes include the importance of mathematical perspective, the impact of ancient art, and the development of art's power to create a compelling illusion of reality. Students take two exams and write a research-based paper.Four credit hours.A. Plesch

AR265fs Sculpture I: Architecture and Site This introductory sculpture studio focuses on topography modeling, the siting of architecture, and the dynamic material of wood. Students learn about the principles of concept building and 3-D design and apply them to the fabrication of sculptural works. Students learn the fundamentals of design and studio safety, while producing works of individual interest. Two major projects are supported by sketchbook entries and the creation of models and maquettes.Four credit hours. Borthwick

AR266f Sculpture II: Artifact and Archive This intermediate sculpture studio engages with the relationship between artifacts and archives, two key concepts in 3-D design. Students create original objects (artifacts) that inform their design and fabrication of an architectural facade. They learn how to apply drafting conventions of section, elevation, and plan-view as well as how to pair specific design methods with desired outcomes. Two major projects are supported by research, sketchbook entries, and time to model preliminary concepts.Prerequisite:Art 265.Four credit hours. Borthwick

AR268s Design Thinking Studio: Performative Sculpture This hybrid studio introduces students to design process and material fabrication where sculpture studio practice interweaves with design for the stage. Informed by 20th- and 21st-century artistic practice, students design and build extensions of their own body, reshaping possibilities for expression in time and space as performance. Taught by two arts professors who understand the value of partnerships between scenography and sculpture, and the pivotal importance of interdisciplinary collaboration to effective problem solving, empathy, and innovation. Culminates with a public presentation of students' performance-based work.Four credit hours.A. Borthwick, Thurston

AR276s Zen and the Arts in Asia Introduction to Zen philosophy, history, and practice, with an emphasis on the ways in which the religion has transformed the aesthetic outlook and artistic production in China, Japan, and the United States. Through class discussions, group projects, and individual writing assignments, students hone their textual and visual analysis skills by actively reading a variety of art forms through the lens of Zen concepts and practices. Students achieve a basic competency in East Asian historical development and Buddhist religious thought, and learn about the aesthetic implications of belief, including an examination of how their own cultures and belief systems color their experiences of the arts.Four credit hours.A. Weitz

AR278f 19th-Century European Art Introduction to European art of the long 19th century, from the French Revolution to the dawn of modernism. Situates objects in their social context, with particular attention paid to the institutions that regulated art production and reception, and the roles played by artworks in forming national, gender, racial, and class identities. Topics include European art's relationship to political conflict, imperialism, urbanization, industrialization, and technological change. Class discussions are supplemented by visits to museums. Students take two essay-based exams and write a paper.Four credit hours.A. Harkett

[AR279] 20th-Century Art Introduction to 20th-century European and American art, focusing on the years 1900-1980. Covers major movements such as cubism, futurism, Dada, surrealism, abstract expressionism, pop art, and conceptual art, situating them in their social contexts. Topics include 20th-century art's relationship to imperialism, war, capitalism, and conceptions of nation, race, and gender. Class discussions will be supplemented by visits to museums. Students take two essay-based exams and write a paper.Four credit hours.A.

AR281f Photography I Introduction to the tools, materials, and techniques for making wet-process, black-and-white photographs. Coverage of camera operation, use of a light meter in determining proper exposure, film processing, and printing. In addition to technique, and at the core of this course, will be a series of assignments, slide lectures, video presentations, and class discussions involving the theories and processes inherent in the comprehension and practice of using photography as a language of personal creative expression.Four credit hours. Green

AR282s Photography II Provides further exploration of the materials, techniques, and ideas covered in Photography I, while introducing more advanced methods, materials, and equipment. In addition, each student will complete assignments that result in further defining his or her own particular photographic process and personal vision. Through class lectures and discussion, critiques of student work, and the viewing of images and videos, we will continue to investigate photography's potential as an expressive artistic medium.Prerequisite:Art 281.Four credit hours. Green

AR285f History of Photography Introduction to the major aesthetic and cultural debates surrounding photography, from the announcement of its invention in 1839 through the postmodern era (ca. 1990). Investigates aesthetic styles and the ways they respond to the question of whether a mechanical medium can produce art. Considers documentary and ethnographic uses of photographs and asks how they construct ideas about "the real." Primary focus is on the Anglo-American tradition. Essay assignments, oral presentations, and discussion emphasize visual analysis skills and the ability to read images in their aesthetic and cultural contexts.Prerequisite:Art major or minor, or sophomore or higher standing.Four credit hours.A. Saltz

[AR287] The Artist's Book: Designing and Producing Publications as Art This humanities lab takes students through the history and production of artists' books, the unique and limited-edition publications that are themselves considered works of art. Students learn to produce their own books, from typography and page design through printing and binding. Many forms of the artist's book will be considered, including zines, photo books, visual diaries, and fine editions. Students across all disciplines are encouraged to enroll.Prerequisite:Any 100-level studio art course.Four credit hours.

AR288j Global Photographies Surveys photography's role in shaping world histories, cultures, and identities, and examines the impact of globalization on photographic practices since 1980. Topics include the worldwide production and dissemination of photographic images; the local and global character of specific genres, such as portraiture and photojournalism; the photographic representation of human movement and migration; and (post)colonial photographies. Presented thematically, lectures and discussions focus on photography of the Americas, Europe, Africa, East Asia, Australasia, and the Middle East. Writing assignments and oral presentations incorporate original artworks and a variety of research sources.Three credit hours.A, I. Nolan

AR323s Destroying Culture: Iconoclasm from Antiquity to Today Students in this humanities theme lab work together to create a digital map and timeline that traces the history of iconoclasm and cultural destruction from antiquity to the present. They explore the religious and political contexts linked to the production, protection, and destruction of material culture by examining specific case studies over a wide geographic and historic span. Students are encouraged to question the forces behind different instances of destruction as well as the meaning they hold for us today. Assessment consists of reading responses, short writing assignments, and a group project. The Presence of the Past humanities lab.Four credit hours.I. Ameri

[AR325] Inside the Museum Offered in collaboration with the Colby College Museum of Art, this humanities lab explores the history and theory of art museums while examining the practicalities of proposing projects for museum settings. Considers how art museums produce knowledge and value, what art museums show and hide, and what happens behind the scenes. Students will read widely in museum studies and develop concrete proposals for creative interventions in the museum's spaces.Four credit hours.

AR328f Print and Digital Media III Continuation of Art 229 that expands students' knowledge of printmaking in its traditional and 21st-century forms. Covers collagraph printing and advanced methods in intaglio and relief, such as photo polymer and chine collß. Demonstrations, studio work, and critique form the foundation of this project-based course. Students develop a thematic body of work that culminates in a midterm and final portfolio.Prerequisite:Art 229.Four credit hours. Lilleston

AR329s Print and Digital Media IV Continuation of Art 328 that expands students' knowledge of printmaking in its traditional and 21st-century forms. This advanced course focuses on refining technique and developing a thematic portfolio. Students engage in group critique and discussions of their work in the context of contemporary printmaking. They develop a thematic body of work that culminates in a midterm and final portfolio.Prerequisite:Art 328.Four credit hours. Lilleston

AR341fs Painting III Serves as a bridge course between the project-based format of Painting I and II and the independent structure of advanced painting. Students undertake invented abstraction, increased scale, the use of limited palettes, and an independent direction in their studio practice. Particular importance is placed on the ability to develop and maintain a work process with the goal of producing a related body of self-directed work. Students are required to express their intent visually in their work, orally in critiques, and in a written statement. Evaluation includes midterm and final portfolio reviews.Prerequisite:Art 242.Four credit hours. B. Engman

AR342fs Painting IV Based on the discoveries made in Painting III, students continue to define and express their personal goals and begin their fully independent studio practice. Particular importance is placed on the ability to develop and maintain creative momentum with the goal of producing a cohesive body of self-directed work. Students are required to express their intent visually in their work, orally in critiques, and in a written statement. Evaluation includes midterm and final portfolio reviews. Fulfills the minimum requirement for the studio capstone Senior Art Exhibition.Prerequisite:Art 341.Four credit hours. B. Engman

[AR347] Art and Maine This humanities lab explores Maine's important role in American art. Themes include Maine's representation as a natural resource, as an embodiment of local, national, and international values, and as an artistic origin or refuge. Research and writing assignments incorporate firsthand study of objects in the Colby College Museum of Art, Portland Museum of Art, and Farnsworth Art Museum as well as fieldwork at Prout's Neck and Allen Island. For their final project, students contribute to the regeneration of the Archives of Maine Art, first established at Colby in 1963 and now housed in Special Collections.Prerequisite:Any art or American studies course.Four credit hours.

AR356s Writing Art Criticism This humanities lab familiarizes students with the forms, techniques, and aims of art criticism. Designed around artworks and exhibitions that students can experience firsthand, assignments prepare them to write critically and creatively for museums, galleries, and websites. The class will conduct interviews with studio art majors, write critical analyses of their artwork, and coauthor the catalogue for the annual Senior Art Exhibition at the Colby College Museum of Art.Prerequisite:W1 course and any art history course.Four credit hours.W2. Harkett

[AR358] Photography and Migration This humanities lab and civic engagement course explores how photography has been used to document, enable, or control the movement of people across geographical and cultural borders. It focuses on how photographers have put a face on immigration, making visible its associations with transition, displacement, hardship, and opportunity. Engaging with current scholarship, students work closely with photographs in Special Collections at Miller Library and the Colby College Museum of Art. They also study materials in local archives and the family photographs of Maine immigrant communities. The seminar culminates in an exhibition and/or community event.Prerequisite:An American studies or art history course.Four credit hours.U.

AR365s Sculpture III: The Nobility of Stone In this intermediate sculpture studio students learn to carve stone, with an emphasis on classical motifs and the foundations of the Western architectural order. Assignments begin with profile carving of an architectural pedestal that becomes the basis for a new design informed by contemporary sculpture. Explores both historical and current values placed upon the medium of stone and the conventions of display, including the pedestal itself. Two major projects are supported by sketchbook entries, research, and independent time to hone one's studio practice.Prerequisite:Art 265 or 266.Four credit hours. Borthwick

AR366s Sculpture IV: Measure, Material, and Process This advanced sculpture studio allows students to explore concepts and material concerns of interest to them while engaging in independent research and cultivating individual expression. Work undertaken in previous studios may be expanded materially or conceptually to reflect elements of architectural vernacular, material traditions, and the wonder of the handmade. Typically involves two major projects supported by substantial research and independent work in the studio.Prerequisite:Art 365.Four credit hours. Borthwick

AR378f Chinese Visual Culture This humanities lab introduces students to art-historical research on an aspect of Chinese visual culture. Students learn about Chinese cultures of representation, visuality, and display; they identify and propose innovative research questions; and they write a series of papers answering those questions. Topic for Fall 2018: Natural Science in Chinese Painting. A large segment of Chinese paintings consists of carefully rendered botanical and avian subjects, often generically referred to as "bird and flower" paintings. We will investigate the scientific and cultural context for these images and identify the specific birds and plants.Prerequisite:Art 101, 173, 174, 273, 274, or 276.Four credit hours. Weitz

AR381f Photography III: Color and Digital Photography Allows students to master the basics—creatively and technically—of digital photographic techniques and materials. Provides a primer for Adobe Photoshop, the appropriate hardware (scanners and printers), and digital cameras. Introduces and explores color photography, its history, methods, and materials and a survey of contemporary work in the medium. Although the curriculum introduces many aspects of digital craft, assignments and projects will include the use of traditional techniques as well. Critical to the course is the continued exploration of photography as a language of visual expression within the fine arts. Students will be using digital and traditional cameras.Prerequisite:Art 282.Four credit hours. Green

AR382fs Photography IV Provides further exploration of the materials, techniques, and ideas covered in Art 381. Students may choose to work using traditional darkroom techniques and/or digital media according to what is most appropriate for their work. Allows students to improve their skills using advanced methods, materials, and equipment including medium- and large-format cameras. Each student will take on a self-conceived and self-directed semester-long project and take part in regular critiques. They will be expected to express their intentions and results verbally and through a final written statement.Prerequisite:Art 381.Four credit hours. Green

[AR393] Museum Practicum In this humanities lab students work closely with faculty to develop an original, museum-based project. Work may include researching museum collections, writing gallery labels and guides, curating physical and virtual exhibitions, and programming museum spaces. Combines hands-on, practical training with creative and critical interventions. Topics vary by instructor.Four credit hours.

AR398s Japanese Visual Culture Introduces students to conducting art-historical research on an aspect of Japanese visual culture. While the topic changes from year to year, students learn about Japanese cultures of representation, visuality, and display. Topic for Spring 2019: In the Folds of Time: Japanese Screen Painting. Byôbu, or decorative multi-paneled screens, divided interior space in Japanese homes. The course will include two required research trips to Boston (in February) and Kamakura, Japan (over spring break). In Kamakura, we will work directly with screens. Global lab course. Travel expenses for the Japanese field trip will be approximately $2400. Individual students should apply for financial support from Davis Connects. Interested students are encouraged to speak with the instructor about funding.Prerequisite:Art 101, 173, 174, 273, 274, or 276.Four credit hours. Weitz

AR401f Studio Art Capstone In this culminating studio art experience, students engage in cross-media discussions and critique with all studio faculty while preparing a body of work for the Senior Art Exhibition. The capstone also focuses on professional development, including résumé writing, creation of a portfolio and artist statement, introduction to graduate programs, and research on employment opportunities. Students meet with guest critics, visit galleries and museums, and participate in a trip to a major arts destination to meet with professionals in the field, funded by the Mirken Family Endowment for Fine Art Practicum and Museum Practice at Colby.Prerequisite:Senior standing as a studio art major.Two credit hours. Mitchell

AR411s Theories and Methods of Art History This seminar offers an opportunity to reflect on a variety of approaches to the study of art history and visual culture. Students will think about how art historians select their objects of study, frame their questions, and voice their arguments. We consider how the discipline of art history has been constituted as well as its relationship to the field of visual culture studies and other modes of interdisciplinary inquiry. Students produce reading responses, oral presentations, and a final research paper. Designed for junior and senior art history majors.Four credit hours. Plesch

[AR423] Modern Exhibition Culture Explores the place of exhibitions in modern European and American culture, 1750-1950. Considers a broad range of exhibition types, including the art museum, natural history museum, wax museum, morgue, panorama, department store, and world's fair. Compares rhetorics of display and asks how the viewing of objects in space might contribute to the formation of class, national, racial, and gender identities. Class discussions will be supplemented by visits to the Colby College Museum of Art and the L. C. Bates Museum. Students write two short papers and undertake a structured, semester-long research project.Prerequisite:Any art history course at the 200 or 300 level.Four credit hours.

AR425s Intimate Things Focusing on 18th- and 19th-century Europe and America, explores the relationships between objects, intimate experience, and memory. How did everyday practices of keeping, wearing, touching, and viewing things shape personal identities, connect people, and enact stories about the past and the present? How did miniature paintings mediate relationships between lovers and among friends and family? How did albums and private museums collect and represent the past? How did death masks and hair jewelry help people come to terms with loss? Students will address such questions by reading relevant texts and developing a semester-long research project. The Presence of the Past humanities theme course.Prerequisite:Sophomore or higher standing.Four credit hours. Harkett

[AR428] Print and Digital Media V Continuation of Art 428 that expands students' knowledge of printmaking in its traditional and 21st-century forms. This advanced course focuses on mastering techniques, developing individual expression, and creating a body of work for the Senior Art Exhibition.Prerequisite:Art 329.Four credit hours.

[AR429] Print and Digital Media VI Continuation of Art 428 that expands students' knowledge of printmaking in its traditional and 21st-century forms. This advanced course focuses on mastering techniques, developing individual expression, and creating a body of work for the Senior Art ExhibitionPrerequisite:Art 428.Four credit hours.

AR441fs Painting V Further extends students' ability to develop a mature direction in their work. Expands on the goals and expectations as expressed in Painting IV, including the ability to develop and maintain creative momentum with the goal of producing a cohesive body of self-directed work. Provides stronger preparation for the studio capstone Senior Art Exhibition and for application to graduate school. Students are required to express their intent visually in their work, orally in critiques, and in a written statement. Evaluation includes midterm and final portfolio reviews.Prerequisite:Art 342.Four credit hours. B. Engman

AR442fs Painting VI Allows students the benefit of the full painting program. Students expand the depth and breadth of their independent process, whether working from still life, figure, landscape, or invented abstraction. Offers the strongest preparation for the studio capstone Senior Art Exhibition and for application to graduate school. Students are required to express their intent visually in their work, orally in critiques, and in a written statement. Evaluation includes midterm and final portfolio reviews.Prerequisite:Art 441.Four credit hours. B. Engman

AR443fs Painting VII Further exploration of materials, techniques, and ideas developed in Painting VI. Out-of-class work is essential.Prerequisite:Art 442.Four credit hours. B. Engman

[AR444] Painting VIII Further exploration of materials, techniques, and ideas developed in Painting VII. Out-of-class work is essential.Prerequisite:Art 443.Four credit hours.

[AR452] Art of the Book in the Islamic World Despite a doctrinal prohibition on figural imagery, illuminated manuscripts became increasingly popular in the Islamic world after the Mongol Invasion of 1258. This seminar focuses on the tradition of book production and miniature painting in Islamic art. Students explore various aspects of book production, from manufacture to illumination and painting, and consider the role that book art and miniature painting continue to play in contemporary Islamic art. Students will work closely with book facsimiles as well as paintings in the Colby College Museum of Art. Students complete a significant research project, resulting in an oral presentation and paper.Prerequisite:Art 101, 225, or 226.Four credit hours.

[AR454] Picturing Nature: American Art and Science Explores interactions between science and visual culture in the United States from the 18th century to the present, focusing on efforts to visualize the natural world. Major topics include the scientific basis of American landscape art, natural history displays, and the visual culture of environmentalism. Students are expected to complete writing assignments, deliver oral presentations, conduct original library research, and engage with visiting artists/scholars. They will study art at the L. C. Bates Museum, Colby College Museum of Art, and Colby Libraries Special Collections.Prerequisite:Any art history; American Studies; science, technology, and society; or environmental studies course.Four credit hours.

[AR458] American Art in a Global Context What does it mean to study American art in a global context? This question has reframed the field of American art history in the 21st century, stimulating studies of artists abroad, (inter)national styles and subject matter, and the global construction, circulation, and interpretation of images. Students have a unique opportunity to witness and contribute to this scholarly shift at three sites: the Smithsonian Institution in Washington, D.C.; Museum of Fine Arts, Boston; and Colby College Museum of Art. At each site, students will meet with curators and conduct original research that will inform oral presentations and writing assignments.Prerequisite:Art 158, 159, 181, 182, American Studies 171, or other modern art history or American visual culture course.Four credit hours.U.

[AR465] Sculpture V This advanced studio cultivates individual research skills and creative expression. Students identify a core interest—social, political, ecological, historical, or personal narrative—to which they can respond through a materials-based practice. To cultivate student ownership of their sculptural works, the studio is structured around individual projects.Prerequisite:Art 262 or 366.Four credit hours.

[AR466] Sculpture VI This advanced studio cultivates individual research skills and creative expression. Students identify a core interest—social, political, ecological, historical, or personal narrative—to which they can respond through a materials-based practice. To cultivate student ownership of their sculptural works, the studio is structured around individual projects.Prerequisite:Art 361 or 465.Four credit hours.

[AR471] Picasso's Suite Vollard and Its Contexts This humanities lab is an in-depth exploration of Picasso's Suite Vollard (named after the Parisian art dealer who commissioned it), a collection of 100 etchings created between 1930 and 1937, and of the contexts of its production: technical, iconographic, stylistic, historical, cultural, and biographical. Includes frequent trips to the Colby College Museum of Art to study firsthand the suite and other examples of intaglio prints. Students are expected to participate in the creation of an online exhibit dedicated to the suite and its contexts and present their research at a small conference.Prerequisite:Art 101, 202, or another 200-level art history course; or, for French studies majors, French 231 or equivalent.Four credit hours.

[AR472] Food in Art, Food as Art In this seminar, students learn about the history of food, look at art from prehistoric times to the present, and address a wide variety of issues. In addition to still-life painting, art featuring food includes depictions of figures eating, preparing, and serving food. Examines the aesthetics of feasts and banquets, the architecture of eating spaces, the symbolic functions ascribed to food, and how food presentation follows the artistic styles of the period.Prerequisite:Any art history course.Four credit hours.

[AR473] Visual Culture of Tattooing An exploration of the practice of tattooing across history along with a survey of scholarship on the subject and of pertinent theoretical models. This seminar sharpens visual literacy and research skills and develops the ability to analyze and critically assess visual and verbal materials. Weekly oral presentations in class, final research paper, and research diary.Prerequisite:Any art history course.Four credit hours.

AR474f Graffiti, Past and Present An exploration of the practice of graffiti across history along with a survey of the scholarship on the subject and of pertinent theoretical models. Aimed at sharpening visual literacy and research skills and developing the ability to analyze and critically assess visual and verbal materials. Weekly oral presentations in class and final research paper.Prerequisite:Any art history course.Four credit hours. Plesch

AR481fs Photography V Provides further exploration of the materials, techniques, and ideas covered in Art 382. Students may choose to work using traditional darkroom techniques and/or digital media according to what is most appropriate for their work. Students will improve their skills using advanced methods, materials, and equipment including medium- and large-format cameras. Each student will take on a self-conceived and self-directed semester-long project and take part in regular critiques. They will be expected to express their intentions and results verbally and through a final written statement.Prerequisite:Art 382.Four credit hours. Green

AR482fs Photography VI Provides further exploration of the materials, techniques, and ideas covered in Art 481. Students may choose to work using traditional darkroom techniques and/or digital media according to what is most appropriate for their work. Students will improve their skills using advanced methods, materials, and equipment including medium- and large-format cameras. Each student will take on a self-conceived and self-directed semester-long project and take part in regular critiques. They will be expected to express their intentions and results verbally and through a final written statement.Prerequisite:Art 481.Four credit hours. Green

AR485fs Photography VII Provides further exploration of the materials, techniques, and ideas covered in Art 482. Students may choose to work using traditional darkroom techniques and/or digital media according to what is most appropriate for their work. Students will improve their skills using advanced methods, materials, and equipment including medium- and large-format cameras. Each student will take on a self-conceived and self-directed semester-long project and take part in regular critiques. They will be expected to express their intentions and results verbally and through a final written statement.Prerequisite:Art 482.Four credit hours. Green

AR491f, 492s Independent Study Art History: Individual study of special problems in the history or theory of the visual arts. Studio: Individual upper-level work in studio areas, intended to build upon course work or to explore new areas in studio art. Not meant to take the place of existing courses.Prerequisite:Permission of the instructor. For art history majors, Art 101 or a 200-level course is required. For studio art majors, a year of studio course work is required.One to four credit hours. Faculty

AR494f Senior Research Seminar in Art History In this capstone seminar designed for senior art history majors, students learn to conduct advanced research in the discipline. Students design their own research topics and plans, create annotated bibliographies and abstracts for their projects, and produce a final paper of 25 or more pages, the equivalent of an academic journal article. They are expected to work closely with the instructor as well as consult other professors with expertise in their area(s) of interest. Students also participate in a trip to a major arts destination to meet with professionals in the field, funded by the Mirken Family Endowment for Fine Art Practicum and Museum Practice at Colby.Prerequisite:Senior major in art history.Four credit hours.W3. Harkett